NEWSLETTER

Transcription

NEWSLETTER

TEXERE
S usummer
m m e r 2 2012
012
Texere Newsletter
TEXTILES EDUCATION
AND
RESEARCH
IN
EUROPE
www.texere.u-net.dk
A Textiles Education Working
Group within the European
Textile Network www.ETN-net.org
Bedrijfsnaam, adres, postcode, plaats
URL website, e-mailadres, telefoonnummer
NEWSLETTER
Letter from the Chair of TEXERE
The Premio Valcellina Award
Celebrating Pugin’s Centenary
Textile and Design Department/Bucharest
Textile Events in the Romanian Cultural Space
Renessenz- Creative Student Fashion
Visit to Shanghai and China Art Academy
Hangzhou
Fibre Art in Kedainiai, Lithuania
Contemporary Quilts-a Textiles Biography
Patricia Christy England
Renata Pompas, Italy
Caroline McNamara, England
Alina Otilia Boeru, Romania
Anna Maria Orban, Romania
Rosemary Derwent, Switzerland
Pamela Hardesty, Ireland
Alexandre Vasiliev – Beauty in Exile
Postmodernism- Style and Subversion
A Tour in Venice Among Old Fabrics and Laces
Pamela Hardesty, Ireland
Jean Pierre Avonts-Saint Leger,
France
Carmen Romeo, Italy
Renata Pompas, Italy
Carmen Romeo, Italy
Letter from the Chair of TEXERE
Dear Members of TEXERE,
I am delighted to say that I received a record number of
articles for the Newsletter this time and in fact some of
them will have to be saved for the Autumn Newsletter as
we had so many. So thank you very much to all of you
who have contributed to this interesting edition and I
hope that we will have a similar response to requests for
articles in the future.
In the last edition there was information about the
Premio Valcellina Award in Maniago, Italy. It was my
privilege to attend this event which has grown into one of
the major international textile events in Italy from quite
modest beginnings. What made it even better for me
st
rd
was that British girls won the 1 and 3 prizes and two of
the other highly commended entries were from students
of other nationalities who had trained at English Art
Colleges. The competition is for under 35 year olds, so
maybe some of you will have students good enough to
enter the next competition in two years’ time.
Two other events were advertised in the last Newsletter,
the TEXERE project which would have taken place in
Holland and the Pugin project. I was disappointed that
we had to cancel the TEXERE project through lack of
interest, but Caroline’s Pugin Project is proceeding
successfully, though only with English students taking
part.
We have news about the Textiles courses at the Textile
and Design Department in Bucharest, Romania and the
subsequent exhibitions which have been taking place
recently. Students’ work is also highlighted from Vienna
in Austria with an exhibition of the fashion students
beautiful costumes in “Renessenz”.
Pamela Hardesty from Ireland is now involved in an
exchange programme with the China Art Academy in
Hangzhou. Her work was recently exhibited in Shanghai
during her visit there and also in Kedainiai, Lithuania.
Jean Pierre Avonts-Saint Leger from Paris tells us about
the way his work has developed and his interesting quilts
which are exhibited internationally.
We have interesting reports of two exhibitions in Italy
and finally a recommendation for reasonably priced
accommodation in Venice, which impressed me when I
visited the house with Carmen.
I am sure that during the summer many of you will be
exhibiting your students’ final examination work, so it
would be interesting if you could send me reports and a
few photographs as jpeg images about these for the next
edition. It is always interesting to hear about the different
kinds of textiles which are being taught in Textiles
Departments around the world, and maybe such reports
could result in some of you taking part in exchanges with
each other which would be great. Articles about your
own work and exhibitions you may be visiting during the
summer will also be most welcome.
The deadline for
th
September 15 .
the
Autumn
Newsletter
is
1
Texere Newsletter summer 2012
The Premio Valcellina Award splits up
into four and more units!
by Renata Pompas
One of the most important and significant fibre art
events in Italy is the “Premio Valcellina Award” that
has celebrated its eighth edition this year. Started in
1995 with the purpose of promoting fibre art and
enhancing the knowledge of textile activities among
young people, under 35 years of age, it has gained
resonance and attracted artists from all continents.
This year 24 works were selected from the 81
applications from Europe (Italy, UK, Latvia, and
Spain), Canada, Japan, India, and Taiwan.
This time the Valcellina Award has split up into a
series of initiatives: the main competitors exhibition
at the Coricama Museum, the “Stamp on War”
exhibition at Liberamente Association, Justin
Randolph Thompson’s show at Palazzo D’Attimis’
former stables, and the Partner Schools’ exhibition
at Le Arti Tessili Association Headquarters. There
were also a rich number of collateral initiatives like
urban installations, labs, book presentations, and
documentary films. But let’s list things in strict order.
Coricama Museum
On 14 April a large international public was
welcomed by the Association staff and local
authorities at the inauguration of the “Mixing
Cultures” exhibition.
The winning artists were: 1st, Kirstie Macleod (UK)
with a live performance. The artist was embroidering
the precious gown of her garment called “Barocco”,
in this way extolling the gestural expressiveness of
The 4 prize winners with the organisers of Le Arti Tessili, Barbara
Girardi, Anna Maria Poggioli, President, and Gina Morandini
1st prize winner Kirstie McCleod
the specific technique taken as an intercultural idiom
common to different cultures.
The 2nd prize went to Zane Kokina (Latvia) with
her 8-panel work called “After M.Antonioni’s
Zabriskie Point or Long Way into the Dunes”. Her
work consists of machine-embroidered printed and
painted canvases, and interlaces the film and textile
language together.
The 3rd prize was assigned to Allyson Lynn (UK)
for her “8th February: Hari Kuyo”, a piece of
sculpture that puts together different elements –
fabrics, porcelain, newspapers – assembled in such
a way as to evoke the techniques common to both
the English and Japanese cultures.
The “Calimala Prize” went to the young student
Milena Gabrijelcic of the Bruno Munari Art Institute
(Vittorio Veneto, Italy) that, thanks to its teacher
Annaclara Zambon’s work, spurs its students
towards textile art.
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2nd prize winner Zane Kokina, Latvia
‘ The world is assembled by a thread’ by of Chia-Shan Lee, Taiwan
Her work, “Walls' Skin Manifesto”, consists of
various layers of painted fabric, which have been
cut so as to reveal the surface underneath, and the
writing overlapping.
Some selected works are videos or are
accompanied by videos. For instance, Claudia Attili
(Italy) with her “On Shadowy Grounds” has
presented a young and an old woman both
embroidering an eiderdown while sharing the
gesture. Yasin Bayrak (Turkey) has shown his
“Memory” where he projects across a wire net the
images of people replying to his question “what
does traditional Turkish art mean”.
Lucia Travnik (Hungary) presents top quality black
and white photos arranged in four panels that
picture an artistic and intercultural interpretation of
the bondage practice.
Photos are cut into thin strips in Wu Pei Shan’s
(Taiwan)’s “Family Album”, a small vertical
installation whose loose sheets connect the past
with the present.
Chia-shan Lee (Taiwan)’s “The world is assembled
by a thread” is a technically consummate sculpture
made of newspaper yarns using crochet. Santanu
Das (India) presents a gigantic sari (8.40 mt. long
by 1.60 mt. high) resulting from the patchwork of
many saris in this way mixing different Indian
cultures.
God of Fox by Mariko Kobayaschi, Japan
3rd prize winner Alison Lynn , Scotland
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We will mention some other selected artists: Regina
Degiorgis Jimenez (Spain), Mariko Kobayaschi,
Noriko Tomita, Sayaka Miyata, and Miyuki
Tatsumi (Japan), Alisia Cruciani, Federica Burzi,
and Livia Ugolini (Italy), Ruta Naujalyte
(Lithuania), Deepa Panchamia (UK), Marloes
Jongen (Holland), Krisztina Vigh (Hungary), MingDao University Group (Taiwan).
This edition’s novelty is that the public may vote for
their favourite work.
the title “Stamp on War”. A documentary film
“Inside Kabul” and the book “Guerre a Tappeto”
(Carpet Wars) were also presented.
Palazzo D’Attimis
There was a suggestive and intense performance
by Justin Randolph Thompson, an Afro-American
artist residing in Italy. In his exhibition called “The
first book of Africa” he presented a series of trees
and sculptures wrapped with fragments of American
patchwork quilts, accompanied by African ancient
fabrics and masks. During his performance, he
rubbed some grease on the greasy pole while
singing a melancholic and deep sounding song.
Presentation of Afghan carpets
Le Arti Tessili Association
This year, too, the “Valcellina Award” offered three
Institutes, where textile disciplines are taught, the
opportunity to present their work.
The Bologna Academy of Fine Arts has shown
Simona Paladino’s “Ment-al-ly”, a huge conceptual
work. It consists of 40 panels showing sinuous felt
forms resembling brain circumvolutions. Upon the
inauguration, two girl students were knitting with two
Justin Randolph Thompson in performance
Liberamente Association
An astonishing array of carpets woven by Afghani
children for the various army occupants, from the
Russians in 1979 to the present day, to be used as
strong visual instruments of political propaganda
among the illiterate masses, was presented under
Fashion Designs by Simone Bruno of Academia Koefia
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gigantic needles a collective fabric symbolically
hinting at different cultures. The Academy Textile
Culture Course has received an honourable mention
for the highly qualified continued work in promoting
textile art.
Koefia Academy of Haute Couture and Art of
Costume, Rome, presented three haute couture
creations by Simone Bruno. He has mixed white
geometric architectural structures with tulle
surfaces, and defined them with black graphic signs.
Afol Moda Milano has presented a new version of
the “Textile Ri-Design” exhibition created by the
Digital Textile Design course students. This
exhibition was shown in Kaunas in an abridged
version, then in full in Milan, and now has reached
Maniago with new projects. (There was an article
about this in the last Newsletter)
The “Textile Ri-Design new collection” consists of
a series of cushions printed by “Clerici Tessuto”
company that have been positioned on Soviet style
posters lying on the floor created by the students.
“Casa Minea” jewels, which are made of fabrics
enclosed in plexiglas, have been placed on a table
along with the video showing the latest projects, and
an album containing some designs ready to be put
into production. The project was promoted by Afol
Milano with Afol Moda and the Italy-Russian
Association.
Digitally designed cushions by students of AFOL Moda
Large knitting by students of Accademia di Belle Arti Di Bologna
The guests enjoyed a buffet meal at this venue and
fortunately the sun was shining so we were able to
eat outside while networking.
Later in the evening there was “Night Talk” at the
Arte Fabrile e Cotellerie Museum during which there
were interesting speeches from the prize winners
and some of the other competition exhibitors about
their work. There was another sound performance
by the Afro American artist Justin Randolph and
Alessio di Carlo spoke about the “Stamp on War”
exhibition of small carpets. Vanna Romualda of the
Academia di Belle Arti, Bologna, Lydia Predominato
and Simone Bruno of the Academia D’Alta Moda
Koefia, Rome and Renata Pompas of Afol Moda,
Milan also spoke about their students’ work.
Fabric Jewels by Digital Textile Students of AFOL Moda
www.premiovalcellina.org
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Celebrating PUGIN’S Bicentennary
Contemporary Wallpaper Designs
Exhibition of Award Winning Designs
from the 4th annual
Student Wallpaper Design
Competition
In September, London’s prestigious Imago Gallery
will showcase the shortlist and winning designs from
the 2012 Student Wallpaper Design Competition
together with specially commissioned pieces from a
range of established and emerging designers.
The competition was open to undergraduates from
four colleges across the UK - Leeds College of Art,
Norwich University College of the Arts, University of
East
London
and
London
College
of
Communication, University of The Arts - and will be
judged by leading exponents from the wallpaper
industry and design history experts.
Now in its 4th year, the Student Wallpaper Design
Competition creates opportunities for undergraduate
surface design students to experience working to a
commercially orientated brief and having their work
selected and critiqued upon by professionals from
within the design industry. In the year marking the
200th anniversary of the birth of arguably the
greatest British architect, designer and writer of the
19th century, AWN Pugin, the Brief for students was
to take inspiration from his work, and to produce a
range of very contemporary wallpaper designs.
“Several of the students whose work will be featured
in the exhibition will be awarded work experience
placements within the design industry with leading
companies, Zoffany, Graham & Brown, Anstey and
Timorous Beasties - a valuable opportunity for both
students and colleges. In addition, some of the
companies will arrange for selected students to tour
their factories and meet professional designers.
The Pugin Society and the Wallpaper History
Society will also be awarding cash prizes to the
most outstanding students. And, CAMAC will be
awarding our first Student of the Year Award.”
CAMAC has also invited guest artists and designers
working in mixed media to produce new work
inspired by this year’s Brief. These include 2011’s
winning students Sarah Milton, Louise Tiler and
Emily Charman.
In October, those students who have been awarded
the placements and prizes on 13 September will be
invited, along with representatives from their
colleges, industry sponsors and VIP guests, to an
evening reception at the House of Lords.
Ramsgate Library in Kent will be host to a display of
student entries from 10 July - 20 August 2012.
Ramsgate is where Pugin built his family home The Grange - and nearby St Augustine’s Church.
Lotherton Hall, Leeds will also host an exhibition
during 2013.
Student Wallpaper Design Competition
Imago Gallery, London
14 September – 20 September 2012
The founder and organiser of the competition,
Caroline McNamara, now Director of CAMAC
Design, collaborates with each participating College,
supporting the students from selection, through to
evaluation and exhibition.
She explains: “The
Exhibition is one of the key elements of the
Competition as it enables the students to engage
with trade buyers, interior designers, manufacturers,
as well as the public. It also offers the opportunity
for students to participate in a series of talks and
presentations with experts from all sectors of the
wallpaper world.
6
Textile Art and Design Department /
Bucharest National University of Arts
by Otilia Boeru, Romania
The Textile Art and Design Department (TAD) is
part of The Faculty of Decorative Arts and Design.
Together with The Faculty of Fine Arts and The
Faculty of History and Theory of Art, they form the
Bucharest National University of Arts.
In 1948, within The Institute of Fine Arts “Nicolae
Grigorescu”, The Faculty of Decorative Arts was
established which inherited the tradition of The
Higher School of Fine Arts. From the beginning, the
faculty included only the sections of Monumental
Painting, Stage Design, Ceramics and Textiles, with
the specialties of Weaving and Printing. Later, in
1971, new sections and specialties were
established. One of them was the Fashion specialty
within the Textiles department until 2005, when it
detached itself as an independent department.
new technologies and forms of visual expression,
both in art and design.
The TAD department has kept during the years its
two specialties, now named: Tapestry – Weaving
and Printing. To achieve those objectives, two study
programs are available:
1. the Basic program, taking place over a
period of 3 years, it is completed by an exam
which gives the students a Bachelor's
Degree;
2. the Master program, which runs for 2 years,
also ends with an exam and the gaining of a
Master's Degree in Environmental Textile
Arts
At present, renamed Textile Art and Design (TAD),
the department underlines the two educational
directions it provides: art and design. Within an art
university there exists one major guideline or
direction, which refers to understanding and
assuming the artistic expression of matter, in this
case the textile materials. The Textile Art and
Design Department is enrolled in the educational
program of the university, but it also assures a
guidance towards design (surface design and
environmental design) within the program of The
Faculty of Decorative Arts and Design. Besides that,
the TAD department pays special attention to the
traditional values and techniques concerning the
textile materials, which are put in relation with the
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The study program within the TAD department
covers a package of courses on artistic
development (drawing, colour, volume), a module
of courses on composition for textile design and its
application in fashion and interior design, and
another package of technical courses and
workshops (hand loom weaving, haute-lisse
weaving, hand screen printing, dying techniques).
Besides these courses, the department also offers a
theoretical course (History of Tapestry and Printing),
and other theoretical courses supported by the
Faculty of History and Theory of Art (Aesthetics,
History of Art, Philosophy, etc.), basic classes, as
well as optional classes. It is also important to
underline the fact that the digital technologies are
more and more present, both in designing and the
implementation process. That is the case of the
Printing specialty, which offers the possibility of
printing the textile fabric with the help of a machine
which uses the “needle point” printing technology.
The students' activity takes place in 5 art studios
and one computer laboratory: 60 -70% of the time in
the studios, for artistic development and specialized
techniques, and about 40 - 30% in the two
laboratories: The Tapestry – Weaving and the
Printing Lab.
These two laboratories assure an individual
guidance of the students, by both the didactic and
technical personnel, adjusted especially to aid them
to understand and create their works using textile
materials, in traditional or experimental techniques.
Today, the TAD Department staff consists of 7
titular professors, 4 associated teaching assistants
and 3 technicians. These personnel manage
approximately 48 students in their Bachelor program
and about 20 students in the Master studies
program. All the other departments within the
University give their support as needed by both
Bachelor and Master programs.
Each year, about 15 students graduate. Some of
them choose to continue their studies and follow the
Doctorate program, also offered by The Bucharest
National University of Art, or go to other schools to
follow their advanced studies programs, seeking
integration within a university research center.
Some of them choose to continue their studies and
follow the Doctorate program, also offered by The
Bucharest National University of Art, or go to other
schools to follow their advanced studies programs,
seeking integration within a university research
center.
Most of the students try instead to search for work
opportunities and find their place inside an atypical
and continuously changing environment, which is
the Romanian society today. A lot of creativity and
versatility is needed to pursue this goal. Following
these prerogatives, our students can be found
working with children in alternative educational
programs, textile design companies, stylists in
creation studios beside local fashion designers or
architects, in interior design and fashion magazines'
publishing teams as consultants, stylists or even
graphic designers.
The real estate boom that preceded the actual
crisis, made lots of our students perform in interior
design, and also the film industry, which rapidly
expanded in Romania for the past decade and
opened new opportunities for them. Due to the
current instability of the Romanian social-economic
situation, most of our graduates work freelance,
working in their own private studios or as creative
associates in small companies, this way being more
mobile than other professional categories.
8
Textile Events in the Romanian
Cultural Space
by Anna Maria Orban,
Ph.d. lecturer at the National University of
Art, Bucharest,Textile departament
Recently in Bucharest we have been involved in
several cultural events regarding textile art and
education in Romania.
First of all I would like to mention the splendid
exhibition „The Gobelins Manufacture: Four
centuries of Creation” organised by the Mobiliere
National, Manufacture Gobelins, Paris, and the
National Art Museum of Romania and „Renewal of
contemporary tapestry, from 1950 until today” at the
National Contemporary Art Museum, where our
public, students and textile artists could enjoy for
more than two months (9th December 2011- 26
February 2012) the Royal Collection of Louis XIV –
exhibited in the National Art Museum and the
contemporary textiles represented by tapestries of
J. Lurçat, P. Picasso, H. Matisse, Le Corbusier, J.
Miró, S. Delaunay, Magnelli, V. Vasarely,
Oppenheim, Matta, Pein Po, A. Calder, Arroyo and
others made in the workshop of the Manufacture
Gobelins, Paris. Besides this „cultural present”
mentioned above, in the period of 12th March - 25th
April 2012, our departament of textiles had the
innitiative to organise in the UNA Gallery and the
Catacombe Gallery (the galleries of our University)
a textile exhibition called „Tactile ballance” (Echilibru
tactil), second edition, currated by our Head of
Departament, Ph.d. Lecturer Dorina Horatau. This
exhibition showed the works of the Textile
Department members at National University of Arts
Bucharest, and the best works made by students
during their studies. On 15th March there was a
Textile Symposium at the Gallery UNA, where we
invited all the textile educators and students from
the art schools to participate. All members of the
Textile Departament from NUAB (National
University of Arts Bucharest) had a presentation
regarding textile art, textile events, and textile
education at our University. In this way we tried to
attract the young people to have contact with this
field of art and to enjoy the works realised under the
guidance of the teachers of Textile Departament of
NUAB.
I presented the textile event „ Expo Odeon Studio”
currated by myself at the Odeon Theatre Halls in
Bucharest, last May, with the best works of my
graduating students, from two generations. The
artistic quality and the diversity of the works covered
all kinds of textile tehniques (printing, dyeing,
weaving, felting, quilting) combined with several
personal tehnique approaches, in that way the
technological knowledge and skills of our graduates
were highly appreciated by visitors. The graduates
realised that their artistic future depends upon the
quality of their works and that it is also important to
have contact with the public opinion.
Another textile event during this spring was the
Textile Salon of Bucharest, called MIX SATB (MIX
Salonul de Arte Textile Bucuresti) organised at the
Orizont Gallery, Bucharest – currated by Ph.d.
Lecturer Dorina Horătău and textile artist Carmen
Croitoru in the period of 22 March – 18 April 2012.
9
This event had two sections, the first part of the
exhibition showed wall hangings and tapestries
made with classic textile techniques, and the
second part was dedicated to experimental
tehniques and ambient approaches. I participated in
the first category with a diptich, called „Recovery” ,
realised with collage, digital print and embroidery.
Anna Orban ‚ Recovery’
Starting in the middle of June there will be several
exhibitions of the graduating students of the Textile
Department from NUAB in the spaces of the
Romanian Peasant Museum, the Palace of
Parliament and different national libraries. One of
these events: “Ambiental textiles 2012- M.A. I, II”
organised by NUAB and the Romanian Artists Union
will be shown during 11-24th June, in the Palace of
Parliament, “Constantin Brancusi Gallery” and will
present the works of 16 M.A. students from the
Textile Department.
My group of MA students are Annamaria Ciubotaru,
Adina Dedu, Diaconu Maria and Diaconu Rodica.
Each of them has developed interesting projects
and they have experimented with different textile
media and techniques to find the best technique and
the most appropriate media for their works. For this
process, we develop together a research plan
during 4 semesters, depending on their interest and
artistic abilities. We use conventional textile
techniques and we also try to find some
personalised approaches with non-conventional
media, using digital techniques, simulations,
stitching, sewing, textile collage, three-dimensional
effects and embroidery.
What about future textile events?
On the 3rd Saturday of May, we organise „Open
Days at the Art University” event at National
University of Arts Bucharest (NUAB) to show our
activities openly to the public and to the people who
are interested in the know how of the artistic
approaches, tehniques and learning processes.
Open days provide a great opportunity to find out
more about Art and Design, our courses, fees and
fundings. Those interested will also be able to meet
our staff and students and see the workshops and
facilities.
During this event the Textile Department organises
workshops presenting several textile tehniques (silk
screen printing, blockprint, freeprint, weaving haute
lisse and basse lisse) to demonstrate the easiest
way to change the surface of a textile into a work of
art, or to realise a woven textile. The event aims to
develop a better knowledge of Textile culture and
practice regarding research, drawing, design
development, and contextual understanding.
Innovation and creativity are essential in art and we
try to show the importance and the possibilities of
textile art by consulting people who are interested
regardless their age.
Anna-Maria Ciubotaru’s project started with the
microscopic images of cellular structures, which she
transformed into decorative signs and created a
large scale of motives in a work of seven decorative
panels.
Anna-Maria Ciubotaru
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Anna-Maria Ciubotaru (detail)
She used different technical solutions for almost
each panel, for 3 panels she made a hand woven
surface using different yarns (cotton, wool, viscose)
and digital prints for the others combined with
embroidery, chenille, ribbon stitch, personal
techniques. The large dimension of the panel (230
cm x 50 cm each) allowed her to develop interesting
and diverse solutions for imitating the cellular
structure with textile media.
A completely different approach is Adina Dedu’s
project called Arboreus Animae, with a very
sensitive way of expressing the effect of global
warming, produced by human activities such as
deforestation and the burning of fossil fuels, or toxic
substances destroying the balance of Nature. She
developed her project and studied the eco-design
trend in art, as well as famous artists’ works using
the symbol of trees and structures from Nature. She
focused her attention upon the shapes of trees, and
finally she chose to work with the plane tree
(platanus). The mature bark peels off or exfoliates
easily in irregularly shaped patches, producing a
mottled, scaly appearance and Adina transferred
this phenomenon in her work using felted materials,
stitching and sewing techniques, and multi layered
textile surfaces, only natural ones, printed with
organic dyes, and finally using recyclable materials.
Her project is composed of five pieces of different
tree shapes, realising a large scale composition
(230cm high) decorating a large ambient space.
Adina Dedu’s project called Arboreus Animae (detail)
National University of Arts Bucharest website:
www.unarte.org
Adina Dedu’s project called Arboreus Animae
11
Renessenz : Creative Student Fashion
based on the Medieval Paintings at the
Kunst Historisches Museum, Vienna
by Rosemary Derwent (Genève)
After spending several hours viewing much Early
Cranach in the medieval picture gallery of art at the
Kunst Historisches Museum, Vienna, looking at
those well padded men in green and rust velvet
tunics out hunting with their skinny dogs in
beautifully painted, vast pictures - I was looking
forward to being pleasantly surprised to find the
latest talented Fashion Student Creations at
“Renessenz”, a play on Words: Essence of
Renaissance. It was a very professional show on
both sides of the upper gallery, alongside huge
narrative paintings of men & horses in battle.
Student collaborations from Vienna’s Degree
courses at the Fashion Art Dept. were impressive,
with an interesting use of man - made fibres and
materials, often standing in for leather, with some
truly wonderful shapes and well made constructions.
Unfortunately the fabrics had not been created or
decorated by the students as all were shop bought
fabrics. However these thirty or more students had
indeed been hard working and very creative with
their chosen materials.
I particularly liked two or three of the tunic style
dresses, a bronze leather look mini dress Designed
by Julia Dunzer, with full-blown silk floral decoration
spreading across a darted bodice, embellishing this
fabulous little dress, finished in narrow red cord with
a jacquard flat lace brocade fabric, used for the
inset panel shoulders and wide hem. The production
team was: Jemima Cassidy, Selda Cetin, Samira
Chirazi all from Höere Mode 2.
Next to strike me, was a Diana style tunic, Goddess
of Hunting, equally well made, conceived with Winglike sleeves enhanced by a butterfly-like decoration
of tulle cut-circles, in silvery gauze, with 1960’s
zippered front, made in a silvery leather-look fabric.
There were also two, rather beautiful Bolero Silver
bodice tops, exquisitely fashioned in their
construction, one had a fitted satin pleated back
with royally puffed sleeves, another had a looser
construction with organza waves and flounces all
over.
Another dimly lit glass case, showed a layered
silvery gauze but stiffened pie-crust skirt, looking
like a royal ruff, designed and constructed by
Clarissa Fritzche, with an illustrated text
photographed onto its glass case by Natia
Sulkhauishvili, both from Kolleg for Möde Year 1.
Dress designed by Julia Dunzer
Several dresses in silver caught my eye at the
further end of the museum’s display, including a
truly exotic, evening fantasy of 1920s pleats with
roses at both shoulders, designed and made by
Nicole Brummer.
Dress designed and made by Nicole Brummer
12
A highly wearable if revealing, plunge Halter-neck
Dress, in a slinky, sexy silver jersey with 1920’s
style Ra-Ra, ruffled concertina and stiff, ruff-like
over-skirt, were both designed and made by Julia
Rechberger from Kolleg Mode 1. This was chosen
for the head of the stairs, to announce the display
“Renessenz”, re-born in the 21st Century.
Elizabethan style dress
Estra Aiad. This one advertised the exhibition,
outside the Italian Painting Gallery, and was like
golden chain mail. Its construction expertly carried
out by Maria Brisavljevic from Aufbundhergang for
Mode Year 3.
Dress designed and made by Julia Rechberger
A simpler satin and stitched cotton, pleated bodice
by Katharine Pasteka was attached to a leather like
fabric, moulded into a quite remarkable curved skirt,
lending a warrior - like air to her design.
Another tunic dress design was the very wearable
quilted bodice version of a 15th Century dress by
Kirsten Probst, with silvery leather panels and
embellishments. This echoed in monochrome, the
velvets and brocades worn by three golden haired
Princesses in a wonderful painting by Cranach
Rather ungainly and somewhat out of place in all
this, was a Hot Pants suit, truly the modern
invention of 1970s fashion. These had most daring
cut-outs for torso and stomach, their sun straps
splayed at the shoulder.
My highly enjoyable tour ended with a High
Renaissance bodice in Queen Elizabeth I style, with
a quilted gold bodice, extravagantly high shoulders
and peplum waist. The sequinned overly long
sleeves and little ruff at the neck were indeed fit for
our Virgin Queen herself!
A fabulously wearable, bronze leather halter neck
top with cut outs adorned another tunic, designed by
Dress designed and made by Estra Aiad and Maria Brisavljevic
My thanks to Vienna’s Art and Fashion College and
the Kunst Historisches Museum for putting on this
marvellous Show.
13
Visit to Shanghai and to the Fibre and
Space Art Department,
China Art Academy, Hangzhou, China
by Pamela Hardesty, Ireland
A vast and varied city, generously sky-scrapered,
with a Thames-like river winding through its heart—
Shanghai carries a vibrancy of history, culture, and
especially business. I was very fortunate to join
Orla Flynn, the Head of my Crawford College of Art
and Design, as well as Dr Brendan Murphy, the
President of our parent institution the Cork Institute
of Technology, on an official visit that took in
functions around St. Patrick’s weekend for Irish
networking and trade, finalised formal links with
Shanghai University for student exchanges, and
allowed me to travel with Orla to Hangzhou to
further potential exchange links with the China Art
Academy there.
Those of you who joined me at the ETN Conference
in Kaunas, and who attended the Networking Focus
on the Saturday of the Conference weekend, will
remember the very impressive presentation by the
faculty representing the Fibre and Space Art
Department at Hangzhou.
I was particularly
impressed by the scale, force, and innovation of the
sculptural textiles shown in their images of student
work. I sat there in Kaunas very excited by the
obvious parallels between the Hangzhou approach
to textiles and that of our courses in Cork, where
great freedom is allowed in materials and
processes, all grounded in fine art conceptual
development through an open research path and
experimentation. I was happy then to meet and talk
with Prof. Shi Hui, Director, and Prof. Shan Zeng for
initial exchange of email addresses. At that time I
had no idea that in a few short months I would be
walking through their impressive entrance and into
the inter-connecting studios of the textiles area.
Hangzhou’s importance in art textiles is due to the
entry into China, directly from the fibre art
stronghold of Eastern Europe, of the Bulgarian
Maryn Varbanov in 1953 as a student and then
again in 1975 as an influential teacher.
He is
credited with not only introducing contemporary
tapestry as an art form into the Chinese scene—but,
through this, bringing modern art into China through
the use of new materials and processes. He
founded the current department at Hangzhou in
Pamela and Orla with Shi Hui and a staff in textiles at Hangzhou
1986, and in that year 3 works from the institute
were exhibited at the Lausanne Biennale, thus
bringing Chinese textiles into the international
dialogue. Shi Hui is one of his former students.
In 2013 Hangzhou will host a Contemporary Fibre
Art Exhibition, with Janis Jefferies (UK), mentioned
to us as a consultant, along with Prof. Shi Hui as
Director General. This huge triennial will invite 50
international artists for several major venues.
What I saw In the Fibre and Space Art Department
on my recent tour was evidence of weaving, in
hand-manipulated textural sampling; cast fibre
forms; wire work; digital print and fabric
construction; and a lot of work in plastics—it
seemed to be a fashion--such as using found
objects like plastic bottles in wrapped and heatdistorted constructions.
Designs for Textiles, Hangzhou
14
The College has a wide range of Sculpture areas
including full modelling as well as relief work in
clay—and much of this work was figurative and
architectural.
We walked through calligraphy
classes and Chinese painting classes. Generally we
saw an interesting mix of old and new: traditions
respected and maintained, along with more current
work in all media. Some of the traditional painting
classes were using new media, such as laptops, to
carry resource images for practice copying, while
using very traditional bamboo brushes and ground
inks---rather incongruous and intriguing.
ropes and cables can be drawn across to bridge an
abyss, gradually forming a strong structure. I feel
that our textiles links are these fine (and vulnerable)
threads shot across boundaries. If only we can
convince our governments and business leaders
that cultural networking like our TEXERE group is
so important and indeed vital for future harmony and
peace in our world.
Hangzhou is on a beautiful lake, popular with
honeymooners apparently, and we walked along it
for a while until the biting wind forced us into the
comfort of hot and very delicious noodle soup at one
of the many restaurants.
Now back in Cork I feel that I have penetrated only
a little bit more into the very exotic culture and
mindset of China—but that through our universal
language of textiles—real connections have been
made that will provide a path into understanding and
involvement. I owe all of this to the networking
magic of the ETN. Our textiles networking is
continually drawing threads between continents,
between political and social boundaries, joining
people through a shared love and insight.
I remember reading about how great suspension
bridges can often begin with a thin rope shot with an
arrow. Once this reaches the other side, heavier
Traditional Chinese cross stitch design
Taoist prayer ceiling, Hangzhou
15
FIBRE ART IN KEDAINIAI AN
EXHIBITION OF SMALL SIZE WORKS
by Erny Piret and Marialuisa Sponga
Janina Monkute-Marks Museum, Kedainiai,
Lithuania
Museum Director: Dalia MinkevicieneJazdauskiene
Curators: Erny Piret, Kakuko Ishii, Gertruda
Ziliute
The exhibition “SMALL SIZE WORKS” Fibre Art
from Asia and Europe is shown in the Janina
Monkute-Marks Museum in Kedainiai (Lithuania)
from April 13th to June 15 th, 2012. This Museum,
founded by artist Mrs. Janina Monkute–Marks,
housed in a century old building, is surrounded by a
beautiful park and situated in the heart of one of the
oldest towns of Lithuania.
This exhibition presents 147 fibre works created by
90 artists from 22 countries:
Switzerland, The Netherlands, Italy, Germany,
Portugal, Ireland, Norway, Belgium, Luxembourg,
16
France, Hungary, Finland, Latvia, Lithuania, Poland,
Estonia, England, Romania, Japan, Indonesia,
Korea and Malaysia.
The organizers invited well known artists such as
Marian Bijlenga, and Prf. Yoshio Ikezaki, but also
young artists such as Annamaria Atturo and Yukako
Sorai. TEXERE member Pamela Hardesty also
exhibited a piece of work.
Erny Piret and Kakuko Ishii wanted to give the
visitors a wide vision of the FIBRE ART. The artists
used different fibres e.g. textiles, paper, wire,
plastics and even materials of animal origin. The
works are carried out in traditional, contemporary
and the author’s techniques. The diversity and
sobriety of the creations reveal the importance of
techniques in the realization of a work. The majority
of them belong to what Erny Piret describes as
“THE ART OF THE ESSENTIAL”. The exhibition
presents works, which have dimensions rarely used
in European exhibitions of small works. These 50 x
50 x 50 cm or 30 x 30 x30 cm dimensions are more
common in Asian countries. The chosen dimensions
provide the artists with a greater possibility to
express their talents.
exhibition with their presence. More than 150
persons attended. Young girls in regional dresses
played kankles (Lithuanian national instruments).
The opening was followed by a fine dinner – what a
grandiose welcome!
Kedainiai is located on the picturesque shores of the
river Nevezis. The architecture of the old town is
fabulous. I suggest to all amateurs of fibre and
textile art to visit this exhibition of high quality as
well as this magical place.
Pamela Hardesty’s work ‘Litany’ which was
exhibited in Kedainiai is made from thin strips of
paper, bled with acrylic paint, and stitched into a
spiral vessel which is cut with all the names of the
Irish saints, about 650 of them!
The opening of the exhibition was an unforgettable
moment.
The
museum's
manager
Dalia
Minkeviciene-Jazdauskiene, the curator of the
museum Gertruda Ziliute and the entire staff
welcomed each artist very warmly on arrival. The
director of the museum proposed a city tour for all
artists and the reception was exquisite. A national
deputy and the regional authorities honored the
17
Contemporary Quilts – a Textiles
Biography
by Jean Pierre Avonts- Saint Leger, France
I first found my love of sewing when I was about 9
or 10 years old. I lived with my parents and younger
brother in the town of Carcassonne in the south of
France. At that time, my mother used to have her
dresses made by a woman, around sixty, named
Mrs.Rossingnol (The French word for nightingale)
and I often went with my mother on the days she
went to try on her newest dresses. One day this
kind old lady gave me some of her scrap pieces of
silk and a catalogue filled with the beautiful dresses
by Dior, Nina Ricci, Elsa Schiaparelli, Mrs. Gray,
Lavin and many others.
When I got home I was enthralled by this catalogue,
it became the source of my own version of these
dresses as I copied and sewed my way through it.
Some days later I showed Mrs. Rossignol and she
was truly amazed and astonished by my
accomplishments. As she praised my work she said
to my mother “How lucky you are! I am so annoyed
my grandson doesn’t like sewing. He is only
interested in football!” She then turned to me and
said “Jean Pierre, you will remember later when you
are older that I gave you your first pieces of
material.” She was of course right, since then I have
often thought of that funny Mrs. Nightingale.
M8, Jean Pierre Avonts-St Leger
Some time later I travelled on a lot of big ocean
liners with my parents between France and the
French African colonies, where my father worked as
a staff officer. The sounds, colours and images that
were the landscape of that time in my childhood are
something I will always remember; they fuel my
imagination and my work to this day.
In the 1970’s, while I was a student at the University
of Lyon, I spent two years in Leeds in Yorkshire,
England. There I taught French while I earned a
degree from the Anya Brown School of Design.
When I returned to Lyon, I started my professional
career dedicated to designing and creating clothes,
costumes and scenery.
Contre Courant, Jean Pierre Avonts-St Leger
In 1982, I moved to Paris when I was offered the
opportunity to design leather clothing for Guy
Dray’s shops, during this time I often travelled for
work to London, New York, Miami, Amsterdam and
Bruxelles.
In 1997, I founded a theatre company called
“Maquis’Art Theatre”. I wrote several plays and
continued making costumes.
In 2005, I felt like expressing myself differently with
fabrics. I started creating small patterns, essentially
masks, fixed on a wooden board. This evolved into
a series of funny skulls, which were disguised and
made ready to play their part on stages all over. It
18
wasn’t until an art critic suggested to me that I give
up on the wooden boards so that the work could be
free, that I discovered the world of quilting.
The first article about my work was written in August
of 2007 by Naomi Ichikawa, managing director of
the Japanese magazine “Patchwork Quilt Tsushin”,
number 139. Since then I have been in more than
twenty textile exhibitions but I keep thinking that
textile art should be available and appreciated by a
greater audience.
So when last year I was asked to exhibit my quilts
with the sculptures of a famous female sculptor, I
agreed. This very successful show took place in
Cannes for the entire month of March. Most of the
people who came had not experienced textile art
before and were impressed and excited in
discovering something new.
In October, 2011 I was selected as the only French
textile artist for the Fibremen exhibition in Kherson,
Ukraine. This exhibition was dedicated to men and
textile art throughout the world.
The Jester 3, Jean Pierre Avonts-St Leger
My next important events will first take place in
Kherson (Ukraine ) again, at the 9th International
Exhibition “Scythia 9”, June, 19-24 and then during
the entire month of July at “Jeux d’étoffes” in
Montpellier (south of France).
Mrs Gaise 6, Jean Pierre Avonts-St Leger
Not being a quilter in the traditional sense I feel free
to use many different materials such as metal,
glass, leather, paper, plastic in my work, though
most of it is still done with fabrics. Through my
quilting I am trying to explore the infinite varieties of
textures, colours and transparencies just as others
would use painting, wood or stone to make their
intimate world come to life. I am very interested in
the nature of human beings and take all my
inspiration from the universal and timeless
mysteries such as death, solitude, love and
vanishing time.
Quilt National 2, Jean Pierre Avonts-St Leger
Mail address : [email protected]
Website : www.jpasl.fr
19
Alexandra Vassiliev, Beauty in Exile
by Carmen Romeo, Italy
I went to Venice earlier this year to see a very
interesting exhibition at the Mocenigo Palace Study
Centre for the History of Textiles and Costume. The
exhibition was about part of the huge collection of
the costumes and set designs of the fashion
historian Alexandre Vassiliev. You can see
beautiful things from the end of the Nineteenth
Century to the 1920s, with particular attention to the
genius known as Sergei Djaghilev and his Ballets
Russes. After so many books and reading it was
nice to see live Worth, Lanvin and Goncharova
creations. So just a little remark to this beautiful
exhibition: I would have prefered a different lighting
in order to better appreciate the seams, the
stitching, the needlework etc. of these wonderful
creations.
The exhibition aims to tell the cultural atmosphere
typical of the Russian intelligentia environments and
the prestige of the international scene of the famous
Evening dresses, Paris, France, 1912-13
company of "Ballets Russes" of Diaghilev (19091929), which in 2009 celebrated the centenary of his
birth. More than two hundred works were presented
in the evocative rooms on the main floor of the
Museum of Palazzo Mocenigo. From the costumes
of "Ballets Russes", made famous by artists Leon
Bakst, Natalia Goncharova, Andre Derain, the
clothes made for Russian emigrant nobles who fled
to various European countries following the October
Revolution, to many other apparels, accessories,
pictures and and documentary material from the
collections of Alexandre Vassiliev, a fashion
historian and collector of world renown, as well as a
selection of costumes and works of art made by
famous artists, including Leon Bakst, Alexander
Benois and Trubenskoj, from the collection of the
famous dancer and choreographer Toni Candeloro
who, in a twenty-five year career on the international
scene of dance, has had the opportunity to meet
some of the last generation of artists of the Ballets
Russes, from which she received the gift of the
choreographic art and transmission works.
Evening overcoat, Moscow, Russia, 1913
Mocenigo Palace Address
Santa Croce 1992,
30125 Venice (ITALY) - E-mail info:
[email protected]
20
Postmodernism. Style and
Subversion 1970–1990
by Renata Pompas, Italy
The video of the seat in shape of a stylised throne,
destroyed by fire, is “Lassù”, the performance of
Alessandro Mendini (1974) which symbolises the
death of Modernism,. This powerful image
welcomed the audience in the first room of the
“Postmodernism. Style and subversion 1970-1990”
exhibition”, which had arrived at the MART Museum
in Rovereto, (TN, Italy), from the Victoria and Albert
Museum in London. This exhibition allows for some
considerations upon our recent past, our present,
our near future and their visual expressions.
The two curators– Glenn Adamson and Jane Pavitt
– have set the period of their research between two
main dates: the 70s which were the birth of many
radical design experiences, and the 90s, which
marked the birth of the World Wide Web. Having
said so, they have no intention of saying that
postmodernism ended in 1990. Instead, they state
that the style survives in its EPIGONI, mainly
outside Western countries, in the Gulf countries,
Singapore, Beijing and Dubai.
But what is Postmodernism? Despite the fact that
the two curators refuse to give a definition, I may
attempt to summarise what emerges from the
exhibition, the written works, replenished with
references, documented and problematic.
Postmodernism is, or was, an international style
which rose in opposition to the functionalist and
optimistic ideas of the Modernism style. A style
grounded on the abolition of all hierarchical
distinctions between high and popular culture, on
the mix of styles, genres and disciplinary borders,
on the liberation from rules of good taste and
functionality.
A movement came into existence out of an antidogmatic and interdisciplinary ideological boost, in
order to arrive to a hedonistic and consumerist
celebration of the pure style: meant without content.
The exhibition is wide-ranging and sets the parable
of Postmodernism in its historical context (between
the 70s to 90s), displaying what was happening not
only in architecture and design, but also in fashion,
music, dance, media: hence, in movements that
vary in ideology but similar in style.
Thus, for example, the mix up of the significant
signs in design is compared with the birth of the
transgender performers; the cut and paste and
bricolage of architectural styles is associated with
the hip-hop sampling and its commercialization
through MTV; the nihilism of designers such as
Gaetano Pesce, Ron Arad and Tom Dixon, is drawn
alongside the punk outfits of Vivienne Westwood
and of Kei Kawakubo; the fascination for the
surface, the exhibitionism and the kitsch in
architecture is juxtaposed to the ‘banality of the art’
in pop art, as in the Jeff Koons’ work.
The curators of the exhibition do not spare
criticisms. Speaking of the “AT&T building” (1978)
designed by the architect Philip Johnson - who went
from being a seminal promoter of Modernism in the
USA to become the conceiver of an historical
skyscraper surmounted by a Chippendale- they
stated: “ At the age of 78, Johnson had shown us
that it is never too late to sell oneself. A ‘critical text’
in the true meaning of the word, after too many
years in which cultural production oscillated
between a cheerful attitude and a slavish
transcription of press releases.
This was a stimulating, fun, accurate and
provocative trip between the several expressions of
a style that has yet to be abandoned.
Lassù-Mendini- photo by Anna Colnaghi
Info: http://www.mart.trento.it/
21
A tour in Venice among old fabrics
and laces
by Carmen Romeo, Italy
Come to Venice where there is a lot to see if you
are interested in textiles.
I suggest the following places to visit:
Mocenigo Palace and Museum - International
Centre for Textile Study with an important library
and a collection of 18th Century clothes and textiles.
Palazzo Mocenigo www.museiciviciveneziani.it
Fortuny Palace and Museum - the beautiful palace
where Mariano Fortuny lived and worked in the
19th and early 20th century.
Palazzo Fortuny www.museiciviciveneziani.it
Luigi Bevilacqua Silk historical textiles factory, where you can see the manual jacquard looms
still at work.
Tessitura Serica Luigi Bevilacqua www.luigibevilacqua.com/
Stefano Nicolao, Atelier - a theatrical costumiers
workshop, where you can get lost among old and
new theatrical and carnival costumes.
Nicolao Atelier
http://www.nicolao.com/index.php?lang=en
Lace Museum on the island of Burano, in the
Venice lagoon - the whole history of the Venetian
schools of lace.
Museo del Merletto www.museiciviciveneziani.it
Recommended Accommodation:
A nice, comfortable, B&B El Va El Vien, run by a
young lady, Camilla Cecchini who is ready to
welcome you in Venice. Located in one of the best
areas in Venice, near the Academia Bridge, it offers
two large and comfortable rooms with large
bathrooms for up to five or six people and wonderful
breakfasts.
For further information, contact Camilla:
B&B El Va El Vien
Dorsoduro 1149 Fondamenta Borgo,
30123 VENEZIA (ITALY)
E-mail: [email protected]
Phone: + (0) 41 0996120
22

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